Monthly Archives: October 2011

Recently I went to the city where the International Court of Justice has its seat. At breakfast I mused at the unexpected juxtaposition of an early Rem Koolhaas, an outmoded Richard Meier and a bunch of slumlike shelters put up overnight by architecture students who were actually not indignados. Yet.

Apart from the surrealistic memento, what did I learn from Den Haag, one could ask? Visiting the administrative capital of the supposed richest country in Europe always ought to taught you something. So, let me briefly debrief you.

Unfortunately, and first of all, I didn’t learn what Luomo is up to these days. Given the sudden need to include a trip to Paris inside my trip to Den Haag, I ended up arriving quite late for my one-nighter in Den Haag.

Due to a badly signed, unfinished highway I actually got lost in the port of Antwerpen, had to ask directions from a Polish truck driver in a deserted gas station… and payed a toll on it too.

Thus I lost both the dark side and the cultural plus Den Haag might have offered and had only what they call the city’s tunnel vision. In this instance, you are lucky if you have half an hour to walk up and down a highly commercial high street that could belong anywhere in small-town Europe. Same brands, same suburban feel.

Ultimately, I did do my thing and learned that Raumlabor’s inflatable BXL at the festival grounds hadn’t the most perfect acoustics in the world. Still, it allowed for a decent, intimate conversation, especially if you would sit on the floor of the Ant Farm inspired bubble in a circle like Indians did ages ago. By then, however, you could imagine a neo-hippie conspiration was taking place. Which would sound* perfectly ridiculous, anyway. Even in the present circumstance.

Secondly, I also learned that Metropolis M magazine carried eloquent protest editorials in a moment in which severe budget cuts are undermining the acknowledged potential of Dutch intelligence.

This grant system was what eventually allowed for successful Dutch cultural exports in areas such as graphic design, product design, fashion, and architecture. Even I was twice the benefiary of that system, although I’m positively no flying Dutchman. Its demise illustrates the bigger picture and a gloomier outcome for what is touristy Europe’s major asset: its culture.

Finally, some friends would also ask what did I learn from my brisk visit to Paris? The only thing I can reveal is that I had a not too bright glimpse of her becoming a second Lagos. As fascinating as the African megalopolis, certainly more attractive to the naked eye, Paris felt as irrational to use in a car. Unless, of course, this was carefully planned in view of a fictional scenario in which the city officials are preparing to ban cars totally and forever.

Crossing Paris by car reminded me of a huge traffic jam I was once in, in Morocco. On a holiday trip, cast against a rural landscape, the thing felt delicious and exotic. In compact Paris, slowly zooming in and out of the city centre felt only stressful and shocking. Even if on Friday everybody is frantic to escape the city, there were behaviours and time loss rates I would expect in places like Luanda. But then, Angola’s capital is now the most expensive city in the world.

Which reminds me of a time when the mostexpensive citiesin the world were also the most attractive to live in. Now, particularly in Europe, it seems like the once expensive are turning into a bad Mad Max version of an unwanted future. Considering its undesirable political, social costs, what was once highly priced is now indeed becoming strangely unappealing.

Given this curious inversion, I can only doubt if we are at a period when, of all things, “the luxury retail store has become a crucial forum for architecture,” as Mohsen Mostafavi has recently sold it ouhmm… I mean, put forward.

As I’ve briefly mentioned in my last Other Little Magazines post, there’s an enormous amount of extraordinary magazines piling in my desk that certainly deserve an urgent reference. Harvesting through them all, I now decided to pick on the unclassifiable ones.

As those who have actually once read books will remember, Jorge Luis Borges unsettled the notion of taxonomy in an eccentric tale called “The Analytical Language of John Wilkins.” The magazines that I hold here would precisely deserve something like the absurd categories Borges made up in his biblio-zoological incursion.

Toilet Paper, for a start, is quite an odd one. An artist’s project published by Maurizion Cattelan and Pier Paolo Ferrari since June 2010, it is already on its 8th issue in two years, which is something remarkable given its surrealistic contents.

Entirerly composed by a juxtaposition of highly narrative, vaguely retro-looking imagesToilet Paper is intellectual porn at its provocative best. Self-proclaimed a “new generation magazine”, it is not clear if it should be filed under “ post-Warholian sick glam,” “anthropological studies” or simply “visual culture.”

A more orthodox, but similarly almost random collection of artist visuals appeared on the first issue of Toronto-based Hunter and Cookback in 2008.

And even if this magnificently named mag falls more typically under the category of the “art magazine”, the stuff in it is still untypical enough for you to be temporarily unsure if you’re flipping through a trash metal fanzine, a photo souvenir album or an alternative comic revue.

As for the equally Canadian Victor, even if it originated from a bunch of graphic design students, its omnivorous nature also makes it pretty undefineable.

Victor is part of a publication triumvirate that is centered in fictional characters, including issues dedicated to Bruno and Nadia. Following the wanderings and psychological landscape of such characters it goes into pretty anything, from weird everyday stories to favorite records, from conversations and messaging with friends and strangers to, above all, great illustration work.

Staying within the category of “magazines with person’s names” let me also introduce you to handsome Sebastian. Its cover says it all: just a first name – a supposed alter ego – and a slightly distorted, disturbing male figure.

Sebastian appeared in London in 2011 and while it promised to show up twice a year to talk about style and culture, it hasn’t yet produced any descendancy.

Here, the variety goes from essays and fictions to photography and graphics, and from light waves and roundographs to book spines and –free food, all however connected by the notion of “negative space” and the affectionate curatorial direction of Vanity Fair editor Hamish Robertson.

The fact that more and more magazines are now curated by… – just remember the pioneer A Magazine Curated By… – naturally brings very individual idiosyncrasies into this particular media, making zines prone to quite subjective ravings and juxtapositions.

In the case of Science Poems, the articulation of science and art, i.e. the lasting dichotomy of C. P. Snow on the two cultures, but also the ghostly presence of science fiction as role model, leads to a most unsual publication, especially considering it is curated by a collective with a design background.

Is it a mag? Is it a numbered book? Is it a catalogue? No, it’sScience Poems!…

The content packed in this 144 pages by OK Do‘s Anni Puolakka and Jenna Sutella, include anything from interviews with philosophers of science, curators, artists and designers to tales on heavenly bodies, brain visions, DNA junk, life-breeding meteorites, volcanic eruptions or big-bang machines, always with the bold intent to “avoid traditional categories or disciplinary boundaries.”

In the end, not only the format of the magazine has become elastic enough to accommodate the most extreme variations – from serial bookazines to artist experiences, from one-off objects to virtual catalogues – but this is also a media that allows for the unclassifiableness and wild diversity of the world to come at the reach of one’s hands in compact form.

This is, alas, part of the diffuse, abbondant phenomena that may today be preparing us for a dramatic post-oil scenario. The current media wealth, of which magazines are only a small example, ultimately allows anyone to gather relevant information and worldviews without necessarily having to be physically present in what used to be the traditional centres of knowledge and culture diffusion.

For the good part of an expanding Western Modern culture, being outside the centre would seem like a condemnation to locality and provincialism. Now sometimes feels as if the assumed centres of cultural production are those blind to the profusion of what’s going on.* (Even if the centre is always recruiting.)

One of the uncertain advantages of our networked, media societies lies precisely in the fact that connectivity makes it quite indifferent where you may presently be rooted. Rather, it’s all about where and how your senses are really pluggin’ in.